NYS Music 20​13

Author: Greg Jackson

  • Hearing Aide: The Moho Collective “Anicca”

    Ryan Barclay, Kurt Johnson and Justin Rister, well known through-out the Northeast as The Moho Collective have released another full-length album, Anicca, full of musical artistry and mystical arrangement. Anicca marks their second studio effort and from cover to mix features their usual hands-on approach to all facets of each release and live performance.

    Anicca is the belief that all things, including the self, are impermanent and constantly changing, the first of the three basic characteristics of existence. Not a surprising statement from three musicians whose collective personality reflects this belief beautifully through their live performances, which this album is. Recorded live with very few overdubs, raw and precise, fiery and brash, full of growth evidence that the band is evolving. Just the song titles alone should send you off to Google.

    “Lingua Franca”, the opener, is playful, then thunderous, opening with what seems to be a toy car horn, rhythmic and distant, diving into a swirling traffic jam. “Chikyu Hakken” takes a fast turn East, pulling on the Asian strings, literally, almost as if they’re deriving  a kinematic equation musically. There’s a syncopated quality that underlies the staccato guitar line with such a natural feel you’d think the guys were native to this, but it’s just the brilliance of The Moho, flexing subtly their band’s muscle and heart. Quickly changing direction, directed by Justin’s reggae/funk intro to Rainbow Young”, (Uticans will be familiar), you think you know right where they’re going, especially when Ryan and Kurt kick the groove in, but just like that, they’ll hit you right in the chest, sending you spinning off into a metal-tinged break, then right back to the funky groove. Proving even more the title fits, as even the groove isn’t permanent, it changes and morphs to fit the Delft-like explosions of The Moho’s collective energies.

    “Oil On Canvas, 13x 29” fits right into why I’ve loved this band from first listen. Kurt’s guitar voicing is so literal, it makes the idea of vocals seem redundant, while Ryan and Justin seem to be of one mind, or at least interchangeable. It’s such a natural feel, it’s the rising and falling dynamics, the swells and swales that fall out from under you, then catch you gently, steadying for the next lift-off. “Chalet” carries on the thought with Kurt getting a loop going to ignite a quick rise from a Frippertronic hallucination into a Hendrixian explosion and back again. The return of Ryan’s didgeridoo haunts “Bamal” and signals another directional change deftly accompanied by Justin’s bass segueing into “Sampa”, yet another ethnicity, another chance to stretch out, this time Kurt calling out his inner-Belew circa 1985, absolutely brilliant work. “Dar Klite” soars gently, wistfully, then forcefully until leveling into a jazzy jam, ala “Return To Forever”. It’s the dynamics man! The dynamics! Another segue into “Wenindee”, flat-out Moho pyrotechnics, the rhythm section pounds and pulses, Johnson’s guitar soars then signals the out and it’s over. I wait for another track, but it’s done, well, just click play again, it’s a fabulous ride. After you let “Wenindee” play out, of course.

    Key Tracks: Oil On Canvas, 13 x 29, Chalet, Bamal, Sampa, Wenindee

    The Moho Collective is Justin Riser (bass), Kurt Johnson (guitar), Ryan Barclay (drums). The sessions were recorded live between March 3rd and 5th, 2012 at The Peace Abbey in Sherborn, Massachusetts with the tracks edited and prepared by Matthew D. Guarnere and Calvin May , mixed at Blackdog Recording Studios in Rochester by M.D.G. and Kurt Johnson and mastered to analog tape at What’s Real Unlimited, also in Rochester by M.D.G.. Matthew is credited as producer as well, along with the band.

    The Moho Collective: on the web and Facebook. Buy the album on iTunes or cdbaby.

  • Hearing Aide: Toad The Wet Sprocket “New Constellation”

    When “All I Want” hit the airwaves in 1992, it railed delightfully against the timbre of the dominate alternate genre. So much so, the band I was in covered it, the song reached the top 5 of Billboard’s “Mainstream” column and into the Top 20 of the “Hot 100”. Pretty nice, as well as the equal success of “Walk On The Ocean”, but for me, that was their flash in my pan, though the songs remain all-time favorites. Fear was their third release, spawned these two gems, and earned the band their first Platinum plate.

    New ConstellationTheir line-up has remained Glen Phillips (vocals, guitar), Todd Nichols (guitar), Dean Dinning (bass) and Randy Guss (drums) and they’ve had their break-ups and reunions, but any band lasting this long surely deserves a listen. New Constellation is the newest offering from TTWS. (By the way, the band name comes from an Eric Idle sketch where he made up a name he thought was so silly, it would never be used.)

    The title track opens almost as expected, they come out of the box and flex their layered vocal harmonies over soft hooks, trying to hang on to their prior strengths while expressing 16 years of personal growth. “California Wasted” pushes the topic forward and looks back at time spent as it flies by. Not even having a chance to correct the mistakes you’ve made or take in what’s right in front of you. Sweet melodic structure has been a signature for TTWS and continues with “The Moment” which speaks directly to living in the now and friendship lost. A nice reflection of maturity, but I always felt they were ahead of their time in the early 90s. “Rare Bird” may be a bit of a tired analogy, but the lilting guitar and the soaring, melancholy reading make it quite convincing, where “I’ll Bet On You” is signature stuff. Cali beautiful, thick harmonies, big guitars that bolster, not overwhelm, it’s up, it’s positive, it’s a single! (or should be)

    “Golden Age” opens like I had been waiting for with some nice finger-picking on top of a subtle pedal-steel line, you can almost picture the three piece drum kit. Fleeting dreams and wants abandoned in search of a goal, very introspective, full of fore-thought. “Get What You Want” picks the pace of the album back up with a little Indie gas and entitlement, sticking around a developing theme of being left for what is perceived as less. It could be right, it could just be bitter, either way it rocks pretty strong on this cut. I’m not sure I’d want to be hanging with these guys while they wrote this, but the best music comes from an open-heart. “Is There Anyone Out There” continues on expressing the difficulty in communication and the nuance of hearing what is said until it’s understood properly. “Life Is Beautiful” takes the next step in healing, acceptance, opening your eyes to what remains and life’s possibilities, like the song title says. While “The Eye” takes a quick dig at becoming jaded and accusing, but I guess we all get a little resentful at some point. Musically it’s thick and tight, fitting for the topic. “Enough” closes out the 11 song early edition I have, there are 15 on the full release. Apt to close the song cycle, it’s bittersweet and heart-broken, yet yearning with positivity. Wanting just to move forward, not wanting to know more, pushing through the pain against physical resistance. “Don’t tell me when I have had enough, I’ll tell me when I’ve had enough”.

    It’s remarkable to me that a band this talented would need a Kickstarter program, but in this case they’ve used it a unique way, to retain their “Indie” status and keep control over their work. Brilliant. “We hit our goal in 20 hours” noted Dean Dinning while speaking to Editor Pete Mason at FarmAid. Glen Phillips shared his thoughts, “It’s been great to get the music out to the people who care the most first and take care of them. It’s exciting to put something out. It’s a totally different world from the last time we did it. We came from an Indie background and we finished our first two records on our own before Columbia hooked up with us, so we’re excited to be back to the Indie roots and a real experienced team behind us.” They immediately re-recorded their early catalog, honing chops and writing “New Constellation” on their own label.

    Their fans can really hang in there with them, this being their first studio album in 16 years, but they’ve satiated their fans with live performances, mini-tours and live music releases. They set their crowdsourcing goal at $50,000, expecting it to take two months, their fans exceeded that in 20 hours! It speaks loudly for the fans as it’s exceeded $200k and is paid back in spades with the product. This one will go right on the iPod and send me reaching into their back-catalog. Very well done.

    Key Tracks: California Wasted, I’ll Bet On You, Life Is Beautiful

    Check out the band through their website and on Facebook or Twitter @ToadWetSprocket.

  • Todd Rundgren releases his 24th solo album “State” and tour dates

    One of the coolest parts of writing is the opportunity to review music by my favorite artists. I’m not a critic unless I’m badgered into it. If I listen to something that I don’t care for, I don’t write about it, simple as that. I don’t want to rain on anyone’s parade, for me it’s all about giving exposure to music I believe is exceptional. But writing about Todd is a pure joy! He’s been one of my favorites since “Hello, It’s Me” hit the airwaves. I’ve had the pleasure of seeing him in concert twice. Once with his band Utopia at the opening of the “Ra!” tour and again two years ago at The Oneonta Theater, which I reviewed on these pages. I’m about to spin State for the first time and share my thoughts on it with you. Here we go!

    Todd01-web
    Photo by Sandra Jackson at Sublunar Studios [Visual Design]
    State is a one-man-band project like so many other of Todd Rundgren’s works, ten tracks that reflect industrial and contemporary electronic elements. This is his 24th solo release and it’s touted as a fusion of rock, soul, R&B and electronica.

    Todd sets an immediate electronica tone with a sequencer running to open “Imagination”, then lays down a little “War Pigs” crunch line. I’m not sure if it’s a vocodor or just effects on the vocals, but the echo element emphasizes the topic, or lack thereof. It’s like the devil on one shoulder and an angel on the other, or is it two devils? They push and prod against each other in an almost tug of war right up to the first solo which is quintessential Todd. Exposing an inner battle in song, “I am what I am, that’s all that I am. Same old situation. No imagination. I tell myself.”

    Bordering on trip-hop with a twist of Todd mayhem. He said he listened to Skillrex, interesting and a bit alarming! “Serious” feels like a mix of 80’s elements from fuzz-tone funk bass to chorus-like synth flourishes right down to the R&B influenced vocals. A total switch of the gears, just like you’d expect from him, it’s like Was Not Was on steroids. He keeps the sequencer rolling on “In My Mouth”, accompanied by electronic drums and processed vocals. Sounding something like a musical therapy session, perhaps describing words on the tip of his tongue that he can’t release.

    “Ping Me” reflects the modes of communication we use today as much as how we diagnose a interpersonal problem described as a technical problem. The inability to express feelings that has been exasperated through our use of the internet medium. Just send a signal and I’ll know you’ve heard me, but did you really? The electronic funk feel rolls on through “Angry Bird”. It’s like he’s playing the game to describe the ebb and flow, lose a life, gain a trophy, re-charge, start over, pretty much a relationship video game soundtrack. “Smoke” has all of the elements of a New Order collides with Todd’s signature R&B/blue-eyed soul feel. He often plays an under-lying sexual tone expressed through analogy. He remains oblique enough to allow the listener their own definition, truly one of the most difficult of songwriting pieces.

    Untitled

    “Collide-A-Scope” gets heavy on the electronica in a stream of thought lyric. As if he’s spinning the wheel on a kaleidoscope of his emotions, again the analogy-like exposition of feelings through an electronic medium. The real heart trying to be heard, but washed under a tide of programming and lack of ability to communicate. The metronome-like percussion of “Something From Nothing” gives a machine voice to a clock left hanging on a wall in a deserted town. Hanging onto hope, which equates to nothing more than a nail on a wall, expressed as faith, which ends up being nothing. “Party Liquor” is a full-force shot at the whole dj dance-hall scene. Exposing the vacuousness and soulless nature of the genre. It’s remarkable that all of these sounds were created with one guitar and a laptop, but that’s surely the shape of music today. The difference is these things are used by a brilliant musician, not a kid using Garage Band. The lyric suggests how easy it all is when you’re in the right place at the right time. Pure misogyny. The closer, “Sir Reality” reduces the real to the ridiculous in a simplification of what actually is, a Wizard of Oz-like opus of belief. Believe what I tell you is real, not what you actually feel. Pure Todd.

    There is also a 2 CD limited edition of State which features a recent concert on Disc 2. Much like every other Todd album I’ve heard, this one is highly recommended as his constant evolution as a writer and musician are in full force here. Don’t forget, he plays every instrument, sings every vocal, engineers and produces this work. Don’t try this at home, trustafarians.

    Todd will be touring in support of “State” beginning at The Bearsville Theater in Woodstock, NY for an “Official State Visit” on May 5th and 6th.

    Tracklist:
    1. Imagination
    2. Serious
    3. In My Mouth
    4. Ping Me
    5. Angry Bird
    6. Smoke
    7. Collide-A-Scope
    8. Something From Nothing
    9. Party Liquor
    10. Sir Reality

  • Mandate Of Heaven releases their 10th CD, “Mark Music”

    Syracuse multi-instrumentalist/singer/songwriter Greg Pier and his vehicle, “Mandate of Heaven” have released their latest CD, “Mark Music” and are preparing for several shows in May and June.

    Pier could certainly be considered one of the area’s most prolific writers as MofH reaches double-digit numbered releases. MofH is not only a band, but also the moniker for Pier’s solo performances and recordings. “Mark Music” is the tenth release on Pier’s “Neon Witch” label. Jason “Jocko” Randall engineers and mixes at More Sound with additional tracking done at Neon Witch, Randall and Pier co-produce this release which was recorded between 2009 and 2012. All songs were written by Pier except “Scrapper’s Blues”, written with Ethan Jenks.

    MOH-1-web
    photo by Robyn Stockdale

    The current band features FLASHING ASTONISHER veterans Bob Kane on Drums, who plays on all tracks here besides “High Dragonfly” and Chuck Gwynn who contributes bass on “Bedroom In The Sky”. Bob gave me a great quote while we discussed this review, “What bums me out is that my favorite tune has Greg on drums, “High Dragonfly”. I laid down a track, but I was more Wilco than Crazy Horse, just too many grace notes, so he played it himself. Someday I’ll learn!” Jason “Jocko” Randall on second guitar and six string monster John Hanus plays the slide solos on “Bedroom In The Sky” and “Cruel, Cruel Aristocrats”. All other instruments and all vocals are performed by Pier, much the same as previous MofH releases.

    The CD opens with “Baby Electron”, a straight-up power-pop monster, setting the bar high for the rest of the disc. Super melodic, the ringing harmonic guitar parts swirl around the vocal harmonies ‘til the chorus hits with a crunch and bite! Hopelessness and lack of control, such a romantically pretty place to start and an appropriate lead in to “Bedroom In The Sky”. John Hanus’ dripping slide part supports Pier’s melancholic reading. The guitar parts individually read with a R.E.M. feel, the rhythm, the slide. Gwynn’s bass line is solid and flowing, just the right feel to work with Kane completing the section. “Scrapper’s Blues” is like a postcard from the front porch, written by Yorke and sung by a Matt Bellamy/Bono lovechild. The syncopation in the guitar line with Kane’s drive close at hand pushes the pace in an almost twirling dance. The first listen of “High Dragonfly” illustrates Kane’s previous quote, while the vocal line belies the almost woodsy feel of the tune, Pier’s vocal twists from his heart like the removal of a similar knife-blade. There’s a “dEUS” quality to one guitar line that echoes a “Beefheartish” influence and influences the vocal meter. The minimalist feel allows the words to bite and release, hard. “From The Center” releases the heavy side of Pier, while he allows the melodic vocal duality to layer deep. Kane’s strength reminds me of QOTSA Grohl, along with a vocal intonation that is rhythmically British in a Foo kinda way, again, back to Kane’s quote.

    There’s an edgy, crispy quality to the whole recording, maybe it’s in the compression. It’s a bit haunting and a bit halting, kinda like T-Rex at times vocally and that ain’t bad!

    Note: We just clicked on cdbaby to the “if you like this artist try” section. Hahahaha! Perfect!

    “Cruel, Cruel Aristocrats” brings Hanus back in the mix to accentuate the fast pace of Pier’s guitar line. Thematically Pier takes another bite at the expected and entitled, spitting at the standard while embracing the outsider. Check out the video here, it’s very well done.

    “If Twenty” jumps out of the gate heavy, its layered guitar riffs punctuating Greg’s quasi-pastoral, pleading vocals. Kane, once again is so strong, yet thoughtful, right down to the bell ride on his cymbal signaling the crunch along. Pier’s disaffected poetry is wrenching when it reaches its apex, circling and re-examining to the ultimate goal, the ultimately isolated self.

    “Parable” is like a theme that runs in my head everyday. Listen to what the self-proclaimed decide you like and let them pick your enemies while they’re at it. It spits at the standard and what is foisted upon us daily. Almost a updated “Iron Man” hidden in there for familiarity, with the classic percussive break only to bring you back with slowed down big-rock ending.

    “Riverbed” has a cool wilting pedal steel line playing against the semi-San Franciscan guitars, whether they’re para-psychedelic or more semi-symbionic. There’s a root in the Appalachians and a mind in Berkeley, woeful, but trust-fund hopeful. Cue up Yo La Tengo – “Sugarcube” and stress the droning vacuum cleaner sound.

    “Hand The Bottle From The Tree” is classic indie-power pop, it rocks, the vocals soar and the end kills. It times in at 3:08, just like a single that will never get airtime. It’s a pity really. At first listen a few months ago I stated that this release alone was reason for a “Album Of The Year” category in our local SAMMY Awards. Did I mention that this won “Best Modern Rock” album this year? I truly believe this work toasts many Grammy winners, it truly is that good! A taste of The Black Keys, maybe some spice from The Raconteurs, all deftly dialed in by Jocko and Greg.

    The closer, “Song Of The Halfway Point” lays it all on the table for digestion. Influences blended with personal vision, forethought and hindsight mixed with the slightest twang. It’s powerful, it exceeds its environment, it stretches reality beyond the norm if only just in wanting. It’s brilliant. Go buy it right now.

    Find Mandate Of Heaven online at Bandcamp and Facebook.

  • Steve Howe Leaves Asia

    Asia, the super-group formed by Steve Howe, Geoff Downes, Carl Palmer and John Wetton sent along two press releases today. The first is announcing Howe’s departure from the legendary band to concentrate on his other musical projects and the second announcing his replacement and the band’s future plans.

    Asia released their first LP in 1982, driven by hits like “The Heat of The Moment”, it spent nine weeks at the top of the Billboard charts riding on the pedigree of the band while helping the explosive growth of MTV. The band reunited in 2006 for a US tour, which was followed by several world and continental tours, the release of three cds, three dvds and numerous live albums. Their critically acclaimed release XXX marks the end of Howe’s tenure. Just a 30 year history or so, and it continues on. Howe said, “Myself and the band wish to thank our fans for the enthusiasm shown during the original members’ reunion. I will continue with Yes, my trio and solo guitar works. I wish my friends continued success”.

    2013 will be a new chapter in Asia’s history as newcomer Sam Coulson joins the band to fill Steve Howe’s shoes on guitar. Sam is well known and world-renowned with virtuoso players. Asia will be touring and recording a new album titled “Valkyrie” cementing their relationship with new label, Frontier Records. Sweden Rock 2013 will mark Sam’s first international gig with the band, no pressure man.